As a pioneer in both the music and medical fields, CarbonWorks’ Neal Barnard has long since inspired many of those he has met over the years, encouraging them to explore this place we call home and issues within it more deeply. The bands’ self-titled debut album released in December, contains elements of blues, rock and jazz – and, today, Thisisthelatest are delighted to premiere the video for the new single “By The Window” which you can check out at the bottom of this feature. To coincide with the premiere, Barnard took time out of his increasingly busy schedule to chat favourite artists, his thoughts on animal testing and his lasting message to the world. TITL: What would you say sets your band CarbonWorks apart from your various musical counterparts?

Neal Barnard: We seem to have gone off in our own direction, with music that changes from song to song like a movie soundtrack, so it’s hard to compare us to other groups. But the elements people pick up on are the beautiful vocals, foreign languages, and odd time signatures. A couple of people have said that our song “Samurai” reminds them of punk or New Wave bands – a bit of Blondie or Talking Heads – and one or two have compared us to The Silk Road by Yoyo Ma with all the international flavors. TITL: Has music always been your chosen career path and if not, which other routes/professions did you consider?

NB: My parents had the idea that a civilized person ought to play at least two instruments. So I was basically chained to the piano and cello starting at age six. And I would love to do music 24/7. However, there are social causes – unhealthful diets and cruelty to animals, in particular – that led me to go to medical school and to found the Physician Committee for Responsible Medicine. So that’s been squeezing my musical career a bit, forcing me to write books about asparagus instead of banging on my Les Paul.

dating again after 25 years of marriage TITL: Which artists and bands most influenced you growing up and how, if at all, do they impact the music you make?

NB: When I was little, the Beatles and “the British Invasion” turned my world from black and white to color. Then Cream, Jimi Hendrix, and Stevie Ray Vaughn made me love the guitar. The Incredible String Band and others introduced the idea of out-of-the-box, who-cares-what-anybody-thinks song-writing. And then I bought a French record in a bargain bin, and that led me down the rabbit hole of French music, which I adore. And because I lived I a Vietnamese neighborhood in medical school, I fell in love with traditional Vietnamese music. So now all those elements go into the mental blender.

opcje binarne dziennik TITL: How did you come up with the concept for the video to your new single “By The Window” and is the Vietnam War, footage of which features within it, something particular close to you/members of your family?

“By the Window” is a traditional Vietnamese song about a woman who is wondering where her man has gone. The words say, in essence, half of my blanket and half of my bed are waiting for you to come back. The original is very pretty and sad. So I translated it into a kick-ass rocker. That’s not such a leap as it may sound, because Vietnamese music uses a pentatonic scale—the same as is used in blues and rock. Phi Khanh and Chau Nguyen were so perfect in this song, and our singer Martha and the group really rocked it, too.

About the war theme, every night in my childhood the news recounted the latest casualties in Vietnam. Close to 60,000 U.S. soldiers were killed and more than ten times that many Vietnamese soldiers and civilians.  When I was 18, I was about to be sent to the army, but fate intervened and sent me in a different direction. Phi Khanh and Chau Nguyen, who play on this song, both had to flee Vietnam. And the video tells of the war and of those forced to leave.

But Vietnam is also a beautiful place, with dense green forests and obvious beauty in its music, food, and clothing that stand in contrast to the cruelty and tragedies that we may remember.

My previous album, Verdun, included quite a lot of Vietnamese influences, and it was reassuring when, in 2009, one of our songs, called “Dream of the Black Horse” was selected for a performance on the National Mall in Washington for the conclusion of the Library of Congress’ observances that were a memorial to the suffering of the Vietnamese refugees at the end of the war. TITL: Your self-titled debut album came out in December. For those who have yet to hear it, how would you sum it up and do you have a favourite track?

NB: In some ways, the CarbonWorks album is a natural extension of my prior albums, Verdun and Pop Maru, which were filled with foreign elements and the occasional bit of experimentation, too. But Naif – our wonderful Italian singer – really summed it up when she said it’s a voyage. The music drifts from blues, into classical and jazz and rock, with Italian and Vietnamese elements and lots of other things that all fit together – at least I hope they do.

I can’t say I have a favourite track. The song most people seem to really grab hold of is “Louder than Words,” which is really Martha and Allegra, our violinist, playing so beautifully together. Although I was not trying to write a hit song, it has been on the U.S. Top 40 for several weeks now -#14 on the Adult Contemporary chart this week. And “Samurai” is really fun. The vocal on “Song for an Angel” is out of this world, and the same for “God Save the King.” And if you are on some highway late at night, I am hoping that the 15-minute “End of the World” Suite will carry you along.

TITL: Who or what most inspires you lyrically and with that in mind, which song would you say is the greatest ever written and why?

NB: Lyrics need to be simple and emotional – not logical – and need to bring visual images to mind. So, for example, Leonard Cohen’s “Bird on a Wire” conveys simple images of – as the lyrics say – a bird on a wire or a drunk in a midnight choir. You can picture these assertive but pathetic images of something that passes for freedom. TITL: Do you have any upcoming performance plans you can tell me about?

NB: I wish. Our musicians are scattered so widely, I think the only place we’ll ever be together is on celluloid, or whatever the digital equivalent is.

go to site TITL: If you could play any venue in the world with three bands or artists who would they be, why and where would you play?

NB: Is there where I’m supposed to say I want to play with Nelson Mandela, the Dalai Lama, and the Pope? Wow, that’s a great question. If I could play any venue, it would be the U.S. House of Representatives, just so all the politicians and lobbyists would put down their credit cards for a moment and listen to something sensible. And once we had that down, I wouldn’t mind a short gig in the middle of the Prime Minister’s Question Time.

why is gay dating so complicated TITL: To what extent, if at all, have you found social media a positive/negative tool when it comes to getting the word about your music out there to the masses?

NB: I love it. It allows people to reach across the globe instantly. Often, they give us a lot more than they should. But I love the fact that they can. TITL: Away from music, you’re regarded as a trailblazer and pioneer in the medical field, notably through removing animal testing from medical schools and medical experimentation in general. How do your views on issues such as animal testing and veganism influence/impact the creative side of your life?

NB: All these things interfere with the creative side of life – which is to say that, because people eat so badly – Americans eat more than a million animals every hour—we are left with a huge disease burden that has to be addressed, plus massive cruelty to animals in laboratories aiming to find cures for the illnesses that are, to a great extent, caused by our carnivorous habits. So with all that work to do, creative pursuits have to wait. TITL: How did/have your appearances on Dr. Oz impacted your career and your ability to get your name out to a wider audience?

NB: Dr. Oz is a good friend. A few years back, he devoted an entire show to vegan diets and has had me on the program a dozen times or more. Since he’s the biggest show on American daytime TV, it does mean that you get stopped in airports quite often by people wanting advice. TITL: What else does this year have in store for you? Are there any as-yet-unannounced projects in the pipeline?

NB: Yes, I’m in the studio now recording some new music. I really love it so far, but it takes time to see what really endures. One of the most important things in any creative process is to release only your very best work, which means letting a lot of good, but not great, things go.

On the non-music side, I have a new book, called The Cheese Trap, which lays out the biochemical reasons why we get hooked on cheddar and mozzarella and the surprising benefits of breaking that love affair. And we are now working on cleaning up the food in hospitals and schools – out with the bacon and sausage, in with the vegetables and fruits. And we have some really exciting research initiatives that help refocus research on human biology.

TITL: Finally then, looking to the long-distant future, what would you like your legacy, both in and outside of music, to be? What one message would you like to leave the world as a lasting reminder of the impact you made and beliefs you had?

NB: I do think we’ve accomplished a lot, from ending the use of animals in North American medical schools, working with a coalition to stop chimpanzee experiments, persuading the US Government to dump the “meat group” from its dietary policies, dramatically changing the nutritional treatment of diabetes, and shining a new spotlight on means of preventing Alzheimer’s disease, among others, but there is a lot more to do, needless to say.

Musically, I hope that the person who feels he or she is trudging through a musical wasteland will have found something new and interesting in our music. And I also hope that it will lead them to know more about our musicians. Naif Hérin and Chris Thomas King, for example, have very prominent careers – Naif in Italy and Chris in movies – like the Coen Brothers’ O Brother Where Art Thou? – and I hope listeners will dig into their work, too.

On a bigger scale, my ultimate hope is that people can learn to behave themselves, which is to say leaving animals off their plates and work to ensure health and dignity for our fellow humans. If our work has advanced those causes, then it has been worthwhile. But there is no shortage of challenges remaining in front of us! And we have music with us to motivate us, console us, and speak for us when words are hard to find.

Watch the video for “By The Window” below and for more information on CarbonWorks, visit their website, give their page a like on Facebook or follow them on Twitter.  Their self-titled album can be purchased here.

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1 Comment

  1. Thank you for posting this video and interview! Human conflicts never seem to cease, but I’m glad that we are able to look at them through a compassionate artistic lens. Thank you!!

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Inspired by artists such as Kenny Chesney and having opened for Thomas Rhett, Cole Bradley has always had a passion and affinity for country music, and now, thanks to releases such as his new single “Happy Hour”, he’s well on his way to being a real star of the genre in his own right. ThisIsTheLatest caught up with Cole to talk song-writing, dream shows, and his ambitions for the next six months and beyond.

5 mg vs 10mg aricept donepezil reviews TITL: First of all, who exactly is Cole Bradley?

Cole Bradley: Great place to start! I am a country singer-songwriter from Calgary, Canada, who currently lives in Nashville, TN. I love to have a good time, live everyday like it’s my last and put out music that hopefully people can connect with.

lincocin amp 600 mg TITL: When did you first realise you wanted to make music a career?

CB: I’ve always loved performing and songwriting but the moment I realized that I wanted to pursue a career in country music was when I was twelve years old. It was when I heard my first Kenny Chesney record and I was mesmerized by the way Kenny was able to make people feel through his songs. From that moment on, I wanted to be like Kenny and create music that everyday people could relate to.

TITL: Which three artists or bands would you say you’ve been and are most influenced/inspired by?

CB: Kenny Chesney, Garth Brooks, and Darius Rucker would have to be the top three country artists that inspire me. The reason being is that their songs tell the best stories. Their music makes people feel something!

TITL: What impact do they have on the music you make?

CB: Obviously, Kenny’s beach influence has impacted me in my song writing but ultimately, these three artists make me want to write better songs and push myself to new heights. In my opinion, Brooks, Chesney, and Rucker set the bar when it comes to releasing new and interesting songs, so my hope is that one day I can be on their level.

TITL: Where or how do you most often find inspiration for your songs?

CB: My best inspiration comes from real life experiences. I need to live my songs! If I can “live” and experience different things every day, that’s where I’ll find inspiration and that creates the best songs.

TITL: Tell me a little about your new single “Happy Hour.” Where did the idea for the track come from?

CB: The idea came from my first year of university in Canada. Every Thursday night my friends and I would huddle into my dorm room and we would play a game called “Power Hour” where each of us would do a shot of beer each minute for 60 minutes straight. We had a ton of fun to say the least! In the end, the song is all about just enjoy a few drinks with your best pals and getting into some fun afterwards!

TITL: Are there any tour dates/performances coming up?

CB: You bet! We have some shows planned for CMA Fest in Nashville this weekend. After that we have some real fun shows planned in Western Canada over the course of the summer as well as a few US dates that haven’t been announced just yet.

TITL: You’ve already opened shows for a number of country stars including Thomas Rhett, but if you could share a stage with three other bands or artists, living or dead, who would you pick and where would you play?

CB: Obviously, Kenny Chesney and Garth Brooks would have to be at the top of that list as they are my heroes! From the past, if I was a sixties kid I would want to hang with The Beatles – “Penny Lane” was one of the first songs I ever listened to and probably inspired my love for singing. Is there any band more legendary than them?

TITL: What has been the nicest thing someone has so far written or said about you, and what would be the ultimate compliment someone could give you?

CB: Wow, great question! I think some of the best compliments I have received are from people who have been following my career from the very start. Just to hear those people say that “you get better every time I hear you” or  “you’ve grown as an artist” is such an affirmation that I’m on track. The ultimate compliment someone could give me is that my songs helped them in a tough time or that one of my songs made them think of a special memory. For me, if someone tells me that they relate to my music and connect with it – that’s the ultimate compliment in my books.

TITL: Given that bands and artists today all but HAVE to be on social media, how do you feel about the power the likes of Twitter and other sites can and do have in terms of helping an artist grow their fan-base and keep themselves current? Do you think there’s such a thing as too much of a social media presence?

CB: Social media is a great platform for artists. It has never been easier to build a brand, release new music and build an audience. Social media engagement is huge in helping an artist grow their fan-base. If you can master the art of having great communication with your fans – I believe you will find success. It’s hard to say if there is such thing as “too much of a presence” but I believe if you have quality content and your personality shines through then I think you are doing the right thing.

TITL: Finally then, what does the rest of the year in store for you and where would you like to see yourself five years from now? What do you want to tick off your bucket list?

CB: For the rest of the year, my plan is to keep building my audience, touring in new markets and improving my craft. I think if I can keep improving on my live show, songwriting and in the studio as well as making new fans then I’ll be very happy. My main goal is to able to share my music with as many people as possible and if I can have a career in the next five years where I am still making a living playing music – then that’s a huge win in my books!

Check out Cole Bradley’s latest track “Happy Hour” below and for more information on him and his music, visit his website, give his page a like on Facebook or follow him on Twitter.


With his “kamikaze pop” sound already having caught the attention of BBC Introducing and BBC 6 Music, Jack Angus Golightly, AKA Jango Flash, is slowly but surely making a name for himself, and his latest single “Perseid 45” is sure to have more music fans and critics alike talking. ThisIsTheLatest caught up with Jango to talk song-writing inspiration and his big plans for the future.

TITL: Please introduce yourself if you would.

Jango Flash: Hi my names Jack, AKA “Tasty Daniels”, AKA “Ooo what’s in dem briefs”, AKA “Jango Flash”.

TITL: Where did the name Jango Flash come from?

JF: It was two nicknames which I ended up gluing together. All of my close friends call me “Jango” because it kinda acts as an Abbreviation of (J)ack (An)gus (Go)lightly, and when I worked in a kitchen, I used to get called “Flash” because of how fast I could chop onions. I feel like every artist at some stage has made a list of “cool” sounding words to put together, like I did. But I ended up hating the process of deciding on something that felt concrete, because it was always so over analysed and contrived. I guess that’s why some people have went back to using online generators for sourcing a name without much thought, or just adding 5 more letters in or around a word. If you’re looking for a good name, it’s usually right on your doorstep.

TITL: What would you say your artist unique selling point is?

JF: That’s a tricky one, I never really think about USP’s in music but I guess it would have to be my hands, apparently I’ve got lucky thumbs.

TITL: Which three artists or bands would you say you’ve been and are most influenced/inspired by? What impact do they have on the music you make?

JF: Damn, that’s tough. Subconsciously I guess I’m inspired by early 2000’s music like t.A.T.u. because they came about at a really weird time in my life. I remember seeing the music video for “All The Things She Said” on Kerrang! and just feeling so many different emotions. They have this wonderful ability of being able to take darker, guitar driven music and then re-purpose it in a huge girl band style, it’s bad ass! I think there’s something to be said about their influences and how they decided to express that in their music. Death Grips are another group I love. From the get go, they’ve had an entire fan-base in the palm of their hands because they are masters at toying with peoples expectations. They’ve got a powerful presence on and off stage, and I can admire that they still do everything them selves, they are essentially modern day punks. Them Things is the band I play drums in, and I’m influenced by everything that we do together. Everyone in Them Things is full of fire and we’re all pretty free thinkers. We’ve fought badly with each other in the past and equally seen each other through a lot as friends, so I find it hard to imagine not being with those guys.

TITL: Is there a story behind your latest single “Perseid 45” and is there an EP or album in the works?

JF: I’ll have a fully illustrated, four track E.P finished by the end of July time. I have a second single ready to release in June called “Deeper Thrill”, and two music videos in the works. The story behind “Perseid 45” came from a time when me and my partner took some duvets and deck chairs out into a field in Edinburgh and watched the Perseid meteor shower. I found it so strange to see that many in one night, it was pure magic. We had gone through a really rough time together when I wrote this song and I guess that was the first thing I thought about. It’s a blown out projection of extra terrestrial pondering, experiences shared and dark feelings of existentialism brought on by losing someone who you may have took for granted.

TITL: When it comes to song-writing, where or how would you say you most find your inspiration?

JF: Inspiration usually strikes me at the worst times, it sucks. I’ll be on public transport with a melody rattling around my head and I’ll have to pull out my phone to record it, but somehow play down looking like a fruit loop by casually whistling to myself. Sometimes it’s circumstantial, like I woke up one morning and my partner was humming something, so I was like “what is that” and she went “oh, it’s chamber of reflection by Mac Demarco” and I say “nah it’s not, it sounds nothing like that”. I loved it so much that I ran downstairs to record it and it ended up being the guitar hook in “Perseid 45.” In terms of writing lyrics, I write a hell of a lot… like every day. When my first MacBook broke I lost around 600 notes full of stories, lyrics, poems and ideas. I just keep writing down my thoughts until I’ve struck something that makes me feel good, or accurately conveys a particular emotion. Other times I’ll highlight a phrase that sticks out to me in a sentence. Maybe the person talking is a character I can live through for a while, and they can be the ones writing. I try and pay attention to oddities that throw me off kilter.

TITL: Which song, by another band or artist, do you wish you could have written, and why?

I’m sure I thought about this again last month, and it would probably be Carol King ‘s “Too Late.” Every time it comes on I just well up, because in it’s essence it’s so full of warmth and forgiveness, whilst ultimately saying “well I guess this is us then, bye”. It’s totally heart breaking in the best of ways, and it’s got to be one of my favourite songs in the world.

TITL: Are there any tour or performance plans you can tell me about? 

JF: I don’t actually have a band together yet, it’s all just me at the minute. I have a few close friends on standby who are whole-heartedly ready to play with me should I be called for duty. Hopefully this year I can play my first show, but for now I want to create a body of work I can be proud of.

TITL: Which venue in the world would you most like to play and which four bands or artists, living or dead, would you like to share the bill with? 

JF: Jesus. I’m not really au fait with venues, I’ve never been a big dreamer on where it is I’d like to play, I’m always just happy playing live in general. I’ve always been more into dive bars though, they seem to have more character than academies etc which usually feel like glorified sports halls with overpriced drinks. If I were to choose though, it would have been CBGB’s when that was still around. I watched a documentary all about that place, it’s a great shame that somewhere with such colourful history got shut down. As for the acts – The Doors, Trash Talk, Timber Timbre and Babylon Zoo. I’m ready to hire in for parties.

TITL: As someone who’s already caught the attention of BBC Introducing and BBC 6 Music, do you pay much attention to what the media says/writes about you, or are you more concerned with what your fans think? 

JF: I haven’t really had much written press until now with blogs starting to show interest in my work, plus my fans are still very much local at the moment. The thing I care about the most is how all of it is represented, I feel strongly about my work and it’s the only thing I really care about right now besides Them Things, my partner, my friends and my family. If those people are enjoying my music right now, I’m happy.

TITL: As a modern day artist in a technology obsessed world, how do you feel about the power the likes of Twitter and other sites can and do have in terms of helping an artist grow their fan-base and keep themselves current? Have you found using social media to be a help or a hindrance when it comes to your career?

JF: I think on the DL I don’t like the fact that artists almost have to use social media if they want to be counted. At the same time though I don’t see it doing any harm because it’s helping people to connect with one another in creative ways. Not to sound all TED X about it, but I think we’re going to see a lot of expansion on the platforms we’re using, and that will bring in new and exciting ways to promote content, so that excites me. As much as I’d sometimes love to scrap social media, I’m still guilty of sitting up and scrolling through spicy ass memes. If you want to make money in today’s world, here’s a tip… create top quality original memes, watermark them and build an empire, THEN become a musician.

TITL: Finally then, what’s your ultimate goal? What would you like people to remember you for in terms of your music and what would you like your legacy to be? 

JF: I have far too many crazy goals, but I’m trying to take this project one step at a time. I’d love to have my own podcast, direct videos, produce music for film and TV and write my own screenplays. Right now though the wheels are in motion, I’m happy making my own music and seeing where it takes me, I just need to keep pushing myself out of my comfort zone.

Check out “Perseid 45” below and for more information on Jango Flash, give his page a like on Facebook or follow him on Twitter. You can also see Jango Flash live on June 8th in Newcastle, as support for Ty Segal & The Freedom Band.